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Completed- the Use of Debates in John Milton Version 4 Martinez-Periset Postgraduate English: Issue 37 Postgraduate English community.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 37 Autumn 2018 Editors: Gareth Reeves and Olly Teregulova The Use of Debates in John Milton’s Poems: Rethinking the Conventions of Scholastic and Humanist Dialectics Fernando Martinez-Periset Durham University and Sorbonne University 1 ISSN 1756-9761 Martinez-Periset Postgraduate English: Issue 37 The Use of Debates in John Milton’s Poems: Rethinking the Conventions of Scholastic and Humanist Dialectics Fernando Martinez-Periset Durham University and Sorbonne University Postgraduate English, Issue 37, Autumn 2018 Historically, echoes of two main lines of thought persist during Milton’s time: Scholasticism and Renaissance humanism. The former could be described as a theological system prominent during the Middle Ages which was largely based on Aristotelian logic; the latter is in essence a pragmatic and anthropocentric reply to the former, which questioned its efficiency and desirability and radically modified some aspects of older philosophy.1 This paper will explore how Milton’s versatility in defending alternative viewpoints allows him to use the university debate format to engage in this wider philosophical and pedagogical discussion. In order to do so, it will be argued that Lycidas recycles dialectical tools from the scholastic method, whilst Comus borrows dialectical principles from humanist thinking. However, as it will be shown, Milton does not completely respect the conventions of either dialectical system. He instead chooses to outline the tensions and imperfections of these paradigms and distances himself from certain elements of both approaches by nuancing and even subverting some of their characteristics. 1 Lorenzo Casini, ‘Renaissance Philosophy’, Internet Encyclopedia of Philosophy <https://www.iep.utm.edu/renaissa/#H2> [accessed 31 May 2018]. 2 ISSN 1756-9761 Martinez-Periset Postgraduate English: Issue 37 In Lycidas the speaker’s central preoccupation concerns one of the fundamental questions in theodicy: the problem of evil, which could be formulated as follows: The argument from evil focuses upon the fact that the world appears to contain states of affairs that are bad, or undesirable, or that should have been prevented by any being that could have done so, and it asks how the existence of such states of affairs is to be squared with the existence of God.2 Milton’s uncouth swain is baffled by two incompatible claims. On the one hand, a belief in divine justice implies that the moral order is sustained by a perfectly fair God. From this he implicitly infers the existence of a principle of justice that would ensure the stability of the moral order so that wrongdoers will be punished and the virtuous people rewarded. The premature passing of Lycidas, however, corresponds to the ‘states of affairs that are bad’ because it is a disruptive event, since it shows a virtuous young man suffering a violent death, therefore introducing a tension in this way of thinking.3 This creates a sense of anxiety and impotence in the beginning of the poem. The lines, ‘I come to pluck your berries harsh and crude, / And with forced fingers rude, / Shatter your leaves before the mellowing year’, suggest a fragmentation of the speaker’s voice, which is expressed through sudden rhythmic alterations.4 This abruptness is displayed in the contrast between the first line of the quotation and the second one, since the former is written in iambic pentameter, whereas the latter is trimeter. In addition, the imagery indicates that the speaker feels insecure and underprepared to face the task before him; Lycidas’s death has forced him to make premature use of his poetic potential. This is reflected in the use of the verb ‘shatter’ which shows the speaker’s awareness of the fact that his writing task will temporarily disturb the current stability and serenity of the bushes from which he is plucking the berries, which are in 2 Michael Tooley, ‘The Problem of Evil’, The Stanford Encyclopedia of Philosophy (Fall 2015 Edition), ed. by Edward N. Zalta <https://plato.stanford.edu/archives/fall2015/entries/evil/> [accessed 20 May 2018]. 3 ISSN 1756-9761 Martinez-Periset Postgraduate English: Issue 37 themselves unripe. All of this sets the speaker in a cognitively limited position. Given that scholastic dialogues are ‘constructed as a discourse between master and pupil,’ it may be instructive to construe the speaker at this stage with the student in a scholastic disputation, who will be instructed in how to reconcile the coexistence of divine justice with Lycidas’s death through his engagement in a debate.3 In fact, one of the pedagogical notions stressed by the scholastic method is its emphasis on the belief that ‘it is through conversation, interrogation, indeed disputation that a more accessible explanation of doctrine can be articulated and achieved’.4 Such a dialogue starts when discussing fame: ‘But the fair guerdon when we hope to find / And think to burst out into sudden blaze / Comes the blind Fury with the abhorred shears’.5 In this case, the speaker puts forward a thesis which shows the fickleness of fame. Fame is presented as a reward, as implied by the noun ‘guerdon’, but human projects can be quickly thwarted. Such an idea is transmitted through the classical image of the violent and immutable Fury, who is about to cut the thread of life. Here the speaker’s preoccupation is related to ‘Edward Kingness’, in other words, to the universal concept of Edward King, which encapsulates the problem of the potential futility of human sacrifice if the effort put into obtaining fame happened to be unsuccessful due to an unexpected turn of events.6 However, these assumptions are quickly challenged by Phoebus, who interrupts the speaker’s meditation in an attempt to correct him. Phoebus, a much wiser figure than the speaker, would correspond to the teacher in a scholastic debate since his epistemologically superior status allows him to present a diametrically opposed perspective: 3 Tooley, ‘The Problem of Evil’ [accessed 20 May 2018]. 4 John Milton, Selected Poems, ed. by John Leonard (London: Penguin, 2007), p. 26. 5 AleX J. Navikoff, ‘Anselm, Dialogue and the Rise of Scholastic Disputation’, Speculum, 86.2 (2011), 387–418 (p. 414). 4 Ibid., p. 404. 5 Milton, Selected Poems, p. 28. 6 Edward Wagenknecht, ‘Milton in “Lycidas”’, College English, 7.7 (1946), 393–97 (p. 395). 4 ISSN 1756-9761 Martinez-Periset Postgraduate English: Issue 37 ‘But not the praise’, Phoebus replied, and touched my trembling ears; ‘Fame is no plant that grows on mortal soil Nor in the glistering foil Set off to the world, nor in broad rumour lies, But gives and spreads aloft by those pure eyes And perfect witness of all-judging Jove.’7 The character of Phoebus attempts to introduce a comforting feeling and to alleviate the sense of anguish that the speaker is experiencing; he will contribute to the resolution of the logical problem of evil and the reconciliation of the two antagonistic claims that haunt the swain’s mind. The viewpoint he presents correlates with the scholastic ‘theory of proof’, a procedure often used by teachers to exhibit the conditions under which a given proposition is true or false.8 In his short but decisive intervention, Phoebus conducts an analysis of the meaning of the word ‘fame’ and in doing so he denies the speaker’s assertion. He corrects the speaker’s definition by drawing attention to the true nature of the noun in question and through this process he demonstrates that the assumptions of the speaker’s thesis are not supported by the existing state of affairs, in other words, the ontological categories and properties the young speaker had attached to that particular concept are disassociated from the truth-conditions. Whereas the swain had thought that fame was equivalent to earthly praise, Phoebus explains that this is not the case; the kind of fame which really matters is divinely granted and, therefore, the understanding of fame as dependent on earthly praise is misguided and ought to be rejected. This reasoning echoes one of the theses exposed by Boethius in The Consolation of Philosophy when the allegorical figure of Lady Philosophy tells Boethius that ‘Fortune by her very mutability can’t hope to lead to happiness’.9 The contingency of human circumstances and values puts in jeopardy the durability of the 7 Milton, Selected Poems, p. 28. 8 Alan Perreiah, ‘Humanistic Critiques of Scholastic Dialectic’, The Sixteenth Century Journal, 13. 3 (1982), 3–22 (p. 17). 9 Boethius, The Consolation of Philosophy, ed. by Victor Watts (London: Penguin, 1999), p. 31. 5 ISSN 1756-9761 Martinez-Periset Postgraduate English: Issue 37 bliss found in them, and therefore it is not to be considered as a legitimate source of true glory. It was widely thought that only eternal states of affairs were valuable, whereas anything that was by nature transitory lacked genuine value due to its very temporary status. From this point of view, material considerations, such as seeking external earthly approval, were regarded as worthless. Phoebus gives further evidence in favour of his position through the imagery he uses, which is related to sight. He establishes a dichotomy between the appreciation of the phenomena of the physical world and the capacity to recognise a moral reality. Phoebus characterises the latter as hierarchically more elevated than the former. Physical sight is conveyed through the words ‘glistering foil,’ whilst the superior type of sight is expressed in words like ‘pure’ and ‘perfect witness’. Since at this stage the swain is solely focused on the inferior kind, he fails to notice that earthly reality does not offer a complete account of what it means to ‘see’.
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